Everyone needs to hunt down a copy of this. Here is my quick write-up:

Only 2 of these tracks are from John Barrett's tapes, neither are upgrades nor offer new material. All tracks appear noise reduced to some degree. Some lightly, some heavily. EQ is sometimes more agreeable than on other sources, but there are no real upgrades in sound quality except for Hey Jude IMHO. Because I’ll reference it a few times at least, “Studio 2 Sessions At Abbey Road” (Yellow Dog) = S2S.

01 There's A Place (take 1) - about 12 seconds new at the beginning, including chat and take announcement. A drop in volume and a click as it comes back in can be heard around 20 sec. This doesn't have the tape error in the right channel around 1:03 that S2S has. The end cuts off a bit earlier than S2S.

02 There's A Place (take 10) - nothing new at the beginning. End is a bit longer, but was copied from a later overdub take, as it cuts off right before the harmonica would come back in, so nothing new here.

03 I Saw Her Standing There (take 1) - more intro (more than S2S, more than “Abbey Road Video Show”, more than the monitor mix) about 3 sec. that we didn't previously have from an inline source.

04 Misery (takes 8-9) - take 8 is nothing new, but take 9 is all new. Cuts to the common version for the last 26.5 seconds.

05 Hold Me Tight (take 20-21) - first .3 sec. are new, the click in before the take announcement at about 36 sec. is new, and had been cut out on Tobe Milo’s studio sessions. End cuts sooner than on previous releases.

06 Can't Buy Me Love (takes 2-3 and 4 count-in) - first 18s of take 2 are new, take 3 nothing new, unless you count the bit before the take 4 announcement as take 3. The take 4 announcement and count-in are new. All the music for take 4 is all from the Stereo remasters.

07 She's A Woman (takes 3-6) - take 3 intro is nothing new. Take 6 is miscalled as 5. Take 6 is longer both before and after than the sources we had for this previously; the CD EP boxset had the count-in and Audifon's “Anthology” contained this tape with a fade-out. Now we have a bit more from the end of the previous take, the chat, the take announcement and an unfaded ending.

08 I Feel Fine (takes 1-2) - there is 16 seconds at the beginning that we didn't have before. Nothing new at the end. Some legitimate studio noises near the end have been removed through de-clicking and now there's a little dropout in their place.
EDIT : Okay, turns out I was wrong about the end of I Feel Fine (takes 1-2). There is nothing new at the end of take 2, only at the beginning of take 1.

09 Yes It Is (takes 1, 14) - has about 3.5 sec. new at beginning. There's something new that lasts about .1 sec. between the two takes here. Take 14 has something in poor quality tacked onto the end of it with loads of noise reduction. Not sure what this is or if it's in the right place, but it's definitely from a different source.

10 Help (takes 1-4) about .6 second of new stuff at the beginning. Nothing new at the end.

11 That Means A Lot - Barrett tape, a lot of NR, nothing new. The bit at the end is from the next track on Barrett's tape; Norwegian wood (take 1).

12 SFF (take 7) - More of the whistle at the beginning. The end is fake, as it has none of the same distortion as the rest of the track, and when reversed, sounds like a drum machine and keyboard.

13 SFF (RM3) - Barrett tape, nothing new, heavy NR.

14 SFF (take 25) - New mix, or a good fake of one! Take call is pasted on from a different source. Has some intro stuff only heard in the monitor mix now from an inline source. Some guitar bleeps not heard before at 2:47 and 2:55, ending is longer and a different mix from take 25 that we already had. Organ at the end can be heard in the monitor mix. There’s a weird hollow sound starting in the middle when it differs from take 25 that we already have.

15 SFF (take 26) New material at beginning only. John's vocals are a bit louder now, but those are easily isolatable and boostable in the take 26 that we already have.

16 When I'm 64 - right before the count in starts, the noise changes and repeats every .5 seconds. We have the full count-in on the moggs, not just the "3, 4". I know HMC says the count-in is genuine, but at least the noise is not, and slowing the mogg down by 103.222% results in the music and the count in lining up with the mogg exactly. So I'm calling this one bogus, except for everything before the count-in.

17 While My Guitar - nothing new that's not on "A Day In The Life"

18 Hey Jude - various pieces here and there that we didn't have before that now join take 7, Las Vegas tune and St. Louis Blues together. An edit, overlapping the end of Las Vegas Tune with the next Hey Jude take is evident, but nothing stands out as fake. Sound quality is better than previous copies and has more channel separation, although still too heavily noise reduced.

19 Not Guilty - count-in is pasted on from Peter Seller's tape, and not quite in the right spot, as the guitar starts twice. Dropouts are in the same place as Scott’s tape, so it’s not Barrett’s copy, but has the longer ending that the Barrett tape has. Probably genuine except for the count-in.

For those of you unfamiliar with the term “bootleg” as it applies to music, bootleg records were fan-produced LPs whose content came from live audience concert tapes (occasionally soundboard tapes), unreleased studio recordings or other rarities (radio and TV performances, obscure single B-sides, etc.).
Bootlegs should be differentiated from pirate records (counterfeit productions of legitimate studio releases). A lot of pirating was financed by the Mafia and then distributed and sold through large department store chains. I’ve used the past tense in this paragraph because bootleg LPs are no longer produced; these days everything is on CD.

Puis à propos de ces caricatures "cochon"...

Q: All of the pig caricatures were fantastic! And seemed just so perfect for bootleg art! The perfect combination of humour, subversion and as Zappa used to say.. Conceptual Continuity….. and on the same subject, Dub & Ken had already been using the ‘farm pig’ logo on their stickers before they hired you but whose idea was it to carry this theme further into the caricatures… yours or theirs?

A: The pig thing was fun. It started a weird rumor in the Hollywood music scene, though, that I was into having sex with pigs. Little minds with too much time, I guess.

The pig thing all began because at that point in time I felt that rock ‘n’ roll was taking itself much too seriously. It was getting pretty pretentious (it was the peak of the Prog Rock era). I thought I’d puncture those ego balloons with a few well-placed pig caricatures (because the symbol of TMOQ was a dictionary image of a pig).

It was meant to be subversive. It was done with the hope that pop stars might reexamine themselves a bit and re-find a way to laugh at themselves and not take themselves so seriously.
I promised Ollie of Record Paradise, though, that I would never draw Mick Jagger as a pig. She loved Mick, who used to visit the shop whenever he was in L. A. When he came by, Ollie would load him up with our bootlegs. I did a lot of drawings of Mick (the TMOQ guys were huge Stones fans) but I kept that promise of never drawing him as a pig.

I felt bad about drawing Yoko Ono as a pig (Get Back Sessions II); she was already getting more than her share of shit from Beatles fans. I heard later that she loved my notorious BeatleSongs cover, the one that featured Mark Chapman on the cover, the cover that got me and Rhino Records all of those death threats.

By that time, we had also recorded She Means A Lot To Me, which became the B-side of It's Gonna Be Alright. In fact, it was one of the songs the boys played when I first heard them.

Originally a piano song, I re-arranged it for guitar, adding a riff I sort of borrowed from George Harrison's Wah Wah and a descending run in the chorus which is sort of reminiscent of Hey Bulldog by the Beatles.

It's Gonna Be Alright came out in a plain white sleeve with just our logo on it. That was done on purpose, as Polydor wanted to keep things mysterious, hoping people would suspect it was a Beatles bootleg. That was the sentiment back then you know, people desperately hoping the Beatles would reform and bands like Klaatu cashing in on it.